With Moonspell we are always assured of a genuine portion Lusitanian metal with gothic influences, but a proper injection of heaviness as well. Earlier albums ’Memorial’ (2006) en ’Night Eternal’ (2008) were ultimately harsh with overwhelming links to their roots, the most recent double album ’Alpha Noir/Omega White’ divided the heavier tracks and the atmospheric ones properly on two discs. What about ‘Extinct’?

The initial impression of the album is that it is quieter and smoother, with the focus on gothic refinement and even mainly catchy yet fetching songs. After more investigation we notice that raucous vocals of Fernando Ribeiro are regularly used when needed to create some contrasts in the songs, but never all the way. In the end it appears to be another magnificent album, such as only our Portuguese friends can create. The dark, warm voice of the front man always touches the right spot, the melodic solos are often really emotive and lyrics plus music create an occult, mysterious and well-thought atmosphere that captivates.

The album opens with ‘Breathe (Until We Are No More)’ in which sultry, sensual chants are one time interrupted by a raucous scream, but soaring synthesizers, melodious guitar skills and some strings guarantee an easygoing start. The ragging guitars are mainly assisted by the warm dark voice and any juicy growls (except for some whispers), while a beautiful guitar solo leaps to the eye in the title track. An oriental vibe and catchy rhythms define the backbone of the gothic ‘Medusalem’ which includes mysterious as well as fervent passages. Melancholy reigns in the magnificent ‘Domina’ with once again a catchy chorus. The single ‘The Last Of Us’ is a song that might have come from Tiamat as well. A kind of fatalistic feel rules the chants in ‘Malignia’, while synths and strings add a zest and the contrast is invigorated by any growls. Same contrast in the symphonic tinged ‘’A Dying Breed’, while the very beautiful, yet pessimistic (or realistic) ‘The Future Is Dark’ illustrates the emotive side when having children. The different final track ‘La Baphomette’ puts us suddenly in French theatres of times gone by. Yet that idiosyncratic Moonspell style prevails in all of the songs, that’s why we really appreciate this album. Yet I expect that opinions will be divided.